The digital age has caused a peculiar problem: Out of an excess of images, information, and memories, one has to select and preserve what seems valuable. The exhibition “Anna-Sophie Berger: Places to fight and to make up,” can be understood as a formal analysis of the specific subjectivity that is confronted with this task. Indeed, while any set of subjective choices, and, hence, the subjectivity applied in the sorting-through of digital content, remains necessarily invisible and cannot be exhibited, Berger shows that it can be traced through various differences of semantic connotations. Thus the viewer is confronted with Parabolic Reflector, 2016, for examplea work that consists of two pieces of borrowed playground equipment meant to amplify users’ voices. Covered with graffiti, however, they evoke the sad and decentered, asocial emptiness that they were supposed to